“Culture is the framework through which we connect to our Country, our Belonging. It defines and makes us who we are. Our language, stories, songs, dance, artefacts, cultural knowledge and practices demonstrate our continuing connections.” — Vicki Couzens.
Possum skin cloaks were a vital part of Aboriginal peoples lives in pre-European times. To make a cloak was a very labour intensive and time-consuming process. Telling the story of the Possum Skin Cloak strengthens cultural identity, connection to country and health, and education and justice within an indigenous community context. The impact of the revival of possum skin cloaks as a community cultural practice has been significant and profound.
Dr Couzens is Gunditjmara from the Western Districts of Victoria. She acknowledges her ancestors and elders who guide her work.
Dr Couzens has worked in Aboriginal community affairs for almost 40 years. Her contributions in the reclamation, regeneration and revitalisation of cultural knowledge and practice extend across the ‘arts and creative cultural expression’ spectrum including language revitalisation, ceremony, community arts, public art, visual and performing arts, and writing. She is a Senior Knowledge Custodian for Possum Skin Cloak Story and Language Reclamation and Revival in her Keerray Woorroong Mother Tongue.
Vicki is employed at RMIT as a Vice Chancellors Indigenous Research Fellow developing her Project ‘watnanda koong meerreeng , tyama-ngan malayeetoo (together body and country, we know long time)’ The key objective of this Project is to produce model/s, pathways and resources for continuing the reinvigoration of Aboriginal Ways of Knowing Being and Doing with a special focus on language revitalisation.
The Hydrating Bungarribee project brought together varied expertise from across different schools to creatively reimagine how public open space can transform waste water to contribute to positive recreational, environmental and social outcomes in the face of increasingly extreme climatic events.
Professor Anton James, who trained as a landscape architect and visual artist, has over a period of 20 years designed projects in Australia, Europe and the USA. He has won numerous awards and competitions, both in Australia and overseas. His work continues to focus on design as a means to explore a site’s spatial, environmental and material tension for their potential to enrich the urban experience.
As a working director of JMD design, Anton’s focus on design and innovation continues to contribute to the quality of the built environment. In 2011 he was the recipient of the Australian Medal for Landscape Architecture for the Paddington Reservoir.
Her Japanese heritage has embedded a Zen-informed relational practice to carve a ‘tao’ (path) in design and has published extensively on this topic. This practice is shaped by working with regional communities in Australia in strengthening their resilience for disaster preparedness, and with Indigenous Nations enact their sovereignty and self-determination. She is an Adjunct Fellow of a ecosystem innovation studio, Re:public Japan, and Visiting Fellow at the Centre of Excellence in Media Practice, Bournemouth University. She serves on several editorial boards of international journals, and conference review committees. She is a recipient of several major research grants in Australia and the UK and winner of the prestigious Good Design Australia Awards in 2014.
David Chesworth is a Vice-Chancellor’s Fellow at RMIT, based in the School of Art and DCP Research Platform. He is a cross-disciplinary artist, composer and researcher with an experimental background, He has created investigative artworks in visual art, music, screen-based media, performance and installation, and across the wider cultural sector, including major museums and artist run initiatives and the public domain. Recent artworks created with collaborator Sonia Leber were exhibited in the main programs of the Venice and Sydney Biennale’s and the satellite program of Moscow Biennale. His sound works have been presented internationally, including Brooklyn Academy of Music’s Next Wave Festival and The Bang on a Can Marathon in New York, and Ars Electronica in Austria (Prix Ars Electronica Honorary Mention).
His recent award-winning PhD investigation into ontologies of listening within visual arts practice interrogated artworks at Dia:Beacon in upstate New York. This led to a practice-based research project as an Associate Investigator with the ARC Centre of Excellence for Australian Biodiversity and Heritage (CABAH) where he investigated, with Earth scientists and Indigenous traditional owners, different understandings of the world.
His postdoctoral research will involve the creation of three artworks that investigate sound archives: a collection of early Indigenous recordings, an experimental music archive, and a collection of recently unearthed séance tapes, this will be supplemented with a range of written research outputs. David is also co-creating a large-scale research artwork called What Listening Knows for exhibition in the UK later in the year.
Hugh Davies is an artist, curator and researcher of games and play. His practice explores histories of media devices and cultures of games in the Asia Pacific Region. Awarded a PhD in Art, Design and Architecture from Monash University in 2014, Hugh’s studies in game cultures have been supported with fellowships from Tokyo Art and Space, M+ Museum of Visual Culture and the Hong Kong Design Trust. Hugh is currently a postdoctoral research fellow at RMIT in Melbourne, Australia.